The Boston Acoustics A40 loudspeaker ($150/pair) has become "legendary" (ie, it's stayed around for a while), probably because a pair of them images as well as Rogers LS3/5As. Unfortunately, it is no match for the LS3/5A in terms of smooth midrange response. Of course, at $150/pair, it shouldn't be.
I was originally going to do a review comparing the Spectrum 108A ($200/pair) and the Boston Acoustics A40. On first listen, I was mightily impressed by the A40. But after Stereophile's Larry Archibald schlepped me out a pair of the 108As, I didn't much want to listen to the A40s.
One of the oldest names in US audio, Altec Lansing was building speakers for theaters and recording studios long before the introduction of the microgroove LP in 1948 (which date many see as marking the inception of high fidelity). Started in 1931 under the name All-Technical Services ~Corp., the firm later purchased another audio firm called Lansing Engineering, and merged the names. Altec's Model 604, one of the first true coaxial speakers, was adopted for home use by many early hi-fi buffs and, several permutations later, is still widely used for monitoring in disc-cutting rooms.
With Peachtree Audio's new nova125 integrated amplifier, most decisions are made for you.
Need a DAC with three S/PDIF inputs (two coax, one optical)? An asynchronous USB DAC? A line stage? A tubed output buffer? A power amp that should be able to drive even difficult speaker loads? Remote control? You've got them all for $1499. Just add speakers. (I assume you have a laptop computer and several disc spinners.) You may want a separate phono stage, because there is none onboard.
Whether one was surprised, in 2010, by the success of Peachtree Audio's iDecco may have more to do with age than anything else. My peers and I wondered, at first, who would want their high-end integrated amps to come bundled not only with digital-to-analog converters but with iPod docks, of all things; at the same time, younger hobbyists wondered who in the world still wanted their integrated amps to contain phono preamplifiers. (Respect for the elderly, myself especially, prevents me from adding "and mono switches.") Color me chastened.
There I was, sitting on the orange couch, with just a few hours to kill before my scheduled departure to Denver, Colorado—I'd been invited to the eighth annual Rocky Mountain Audio Fest, where surely I'd be moved to tears by some of the greatest, most advanced, most expensive hi-fi systems known to man—and I could not believe the awesome sound coming from my modest little stereo.
I received a call from Aperion Audio, who wanted to know if was interested in reviewing their Verus Grand Bookshelf loudspeaker ($598/pair). I've had good experiences with speakers from this Oregon-based, Internet-only company. I reviewed their Intimus 6T (January 2009) and Intimus 533-T (April 2007), and felt both provided overall good sound and great value for the money. I was also impressed with the speakers' quality of construction and physical appearance. But those models were floorstanders—what excites me more is finding new bookshelf speakers at low prices. I was anxious to hear the Verus Grand.
I was ready to have some fun with Dayton Audio's B652 loudspeakers—the ones with the outrageously high price of $39.80/pair.
Available from Parts Express (catalog #300-652), the Dayton B652 is a simple two-way, sealed-cabinet design with a 6.5" polypropylene mid/woofer and a ferrofluid-cooled, 5/8" polycarbonate tweeter. The cabinet is clad in black vinyl and has a removable grille of black cloth. The B652s sounded pretty much the same regardless of whether the grilles were in place, but I preferred their looks with the grilles off, so that's how I listened. Better looks often equal better sound—at least in my home.
There are two things that don't have to mean anything; one is music and the other is laughter.—Immanuel Kant
We can dance until we die.—Katy Perry
I'd always figured I'd wind up with a girl who loved the Mets, hated cats, and had grown up on Sonic Youth and the Pixies—a female version of me, more or less. What could be better?
Was my vision misguided? Maybe. Narcissistic? Probably. A symptom of low self-esteem?
Recently, I thought about all the audio shows I've attended over the last 27 years, looking for any pattern that all of them might have shared. I came up with a handful of audio manufacturers that have earned at shows a reputation for getting, year after year, consistently good sound—rooms in which I could reliably depend on being able to chill out and enjoy music in good, involving sound. Those companies include Audio Research, Music Hall (distributor of Creek and Epos), Vandersteen Audio—and Definitive Technology. Since their founding, in 1990, Maryland-based DefTech has been a major presence at shows, displaying an increasingly wide range of high-value speakers for two-channel and surround-sound systems. But I'd never reviewed one of their models. I thought it was about time.
On May 21, 2008, five months after purchasing my very first turntable (a Rega Research P3-24), I decided that my obsession with LPs had grown to the extent that I could no longer function without a good record-cleaning machine. I'd done some research and found that the device best suited to my life and wallet was VPI's time-honored HW-16.5. I was certain, anxious, determined. But that morning, when I gave VPI a call, the line was busy. When I called again in the afternoon, the line was busy. When I called again in the evening, the line was busy.
The last few decades have seen dramatic improvements in the art (and science) of loudspeaker design. Tannoy's budget-priced Mercury series is now in its fifth iteration. The two-way, front-ported Mercury V1 ($320/pair) measures 11.8" high by 6.7" wide by 10" deep and weighs 9.9 lbs. My samples came in a very handsome Dark Walnut finish (Sugar Maple is available) with simple black cloth grilles. I left the grilles off to reveal the speakers' attractive front baffles and accentuate their equally attractive high frequencies (more on the latter later).
The Tannoy Mercury V1 loudspeakers ($320/pair; see last month's column) were already carefully packed in their box, pushed into a corner of my messy kitchen, ready to go to John Atkinson for a Follow-Up—but I couldn't stop thinking about them. Their delicate, graceful highs and tight, properly balanced bass had entranced me, and, now, as I listened over and over to a recent reissue of Bill Dixon's amazing Intents and Purposes (CD, International Phonograph LSP-3844), I felt a strange urge to unpack the Tannoys and return them to my listening room. I had to know how Intents and Purposes would sound through the Tannoys.
Thus spoke AudioQuest's Steve Silberman, VP of development, of their brand-new USB D/A converter, the DragonFly. "There are a lot of very good DACs out there," he continued. "There are even a lot of very good affordable DACs. But the problem is, people outside of audio don't want them: They don't want old-style components like that.
The Definitive Technology StudioMonitor 45 measures a very room- and back-friendly 11 11/16" (297mm) high by 6¾" (172mm) wide by 11 11/16" (297mm) deep, but these dimensions are attractive for reasons other than simple, efficient transport and placement. I noticed right away that something about the speaker just looked right. Paul DiComo, DefTech's senior vice president of marketing and product development, explained that while the number and size of drivers used in any DefTech design will largely dictate that speaker's height and width, the company nevertheless aims for Fibonacci, or golden-ratio, dimensions. According to DiComo, these efforts help minimize standing-wave and "organ-pipe" resonances inside the speaker's cabinet.
While it is not quite accurate to say that $500/pair loudspeakers are a dime a dozen, they are by no means unusual. And since this is a price area where major design compromises are mandatory (footnote 1), the sound of such loudspeakers tends to vary all over the map, from pretty good to godawful—depending on what performance areas the designer chose to compromise and by how much.
I approached this latest half-grander with little enthusiasm, despite Siefert's persuasive literature, I have, after all, been reading such self-congratulatory hype abiout new products for longer than most Stereophile readers have been counting birthdays. This, I must admit, was ho-humsville.
Budget Component Reviews
The Boston Acoustics A40 loudspeaker ($150/pair) has become "legendary" (ie, it's stayed around for a while), probably because a pair of them images as well as 
While it is not quite accurate to say that $500/pair loudspeakers are a dime a dozen, they are by no means unusual. And since this is a price area where major design compromises are mandatory (footnote 1), the sound of such loudspeakers tends to vary all over the map, from pretty good to godawful—depending on what performance areas the designer chose to compromise and by how much.
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